本文目录
- 求以下小说的英文翻译!十万火急中
- Cutting-edge 是什么意思
- 跪求一篇英文翻译Translation
- because i could not stop for death如题 谢谢了
- 英文翻译 nature school
- 请英语强人帮忙翻译！谢绝翻译机
- 急求一份新东方2010年大学英语六级高频词汇，Word或text文档，发到我的邮箱shishaoxiaok@yeah.net
- 【英语强人系列】原创小说片段翻译,多谢捧场,谢谢!
- startling是什么意思
- 雾都孤儿读后感要英文翻译！！
求以下小说的英文翻译!十万火急中
这些都是正式英文出版物的名称。
Five Weeks in a Balloon
The Extraordinary Voyages
In Search of the Castaways or Captain Grant’s Children
The Mysterious Island
From the Earth to the Moon
Twenty Thousand Leagues Under the Sea
《在已知与未知的世界漫游》《奇异的旅行丛书》应该是一个意思，是作者从1863年起所有作品的总标题。
介绍：
Jules Gabriel Verne (February 8, 1828–March 24, 1905) was a French author who pioneered the science-fiction genre. He is best known for novels such as Journey To The Center Of The Earth (1864), Twenty Thousand Leagues Under The Sea (1870), and Around the World in Eighty Days (1873). Verne wrote about space, air, and underwater travel before air travel and practical submarines were invented, and before practical means of space travel had been devised. He is the third most translated author in the world, according to Index Translationum. Some of his books have been made into films. Verne, along with Hugo Gernsback and H. G. Wells, is often popularly referred to as the “Father of Science Fiction“.
Contents
[hide]
* 1 Biography
o 1.1 Early years
o 1.2 Literary debut
o 1.3 Last years
* 2 Reputation in English-speaking countries
* 3 Hetzel’s influence
* 4 Predictions
* 5 Scholar´s jokes
* 6 Bibliography
* 7 See also
* 8 Notes
* 9 Further reading
* 10 External links
[edit] Biography
[edit] Early years
Jules G. Verne was born to Pierre Verne, an attorney, and his wife, Sophie, in Nantes, the former capital of Brittany, France. The eldest of five children, Jules spent his early years at home with his parents in the bustling harbor city of Nantes. The family spent summers in a country house just outside the city, on the banks of the Loire River. Here Jules and his brother Paul would often rent a boat for a franc a day. The sight of the many ships navigating the river sparked Jules’s imagination, as he describes in the autobiographical short story Souvenirs d’Enfance et de Jeunesse. At the age of nine, Jules and Paul, of whom he was very fond, were sent to boarding school at the Saint Donatien College (Petit séminaire de Saint-Donatien). As a child, he developed a great interest in travel and exploration, a passion he showed as a writer of adventure stories and science fiction. His interest in writing often cost him progress in other subjects.
At the boarding school, Verne studied Latin, which he used in his short story Le Mariage de Monsieur Anselme des Tilleuls in the mid 1850s. One of his teachers may have been the French inventor Brutus de Villeroi, professor of drawing and mathematics at the college in 1842, and who later became famous for creating the US Navy’s first submarine, the USS Alligator. De Villeroi may have inspired Verne’s conceptual design for the Nautilus in Twenty Thousand Leagues Under the Sea, although no direct exchanges between the two men have been recorded.
Verne’s second French biographer, Marguerite Allotte de la Fuye, formulated the rumor that Verne was so fascinated with adventure at an early age that he stowed away on a ship bound for the West Indies, but that Jules’s voyage was cut short when he found his father waiting for him at the next port.
[edit] Literary debut
After completing his studies at the lycée, Verne went to Paris to study the bar. About 1848, in conjunction with Michel Carré, he began writing librettos for operettas. For some years his attentions were divided between the theatre and work, but some travellers’ stories which he wrote for the Musée des Familles revealed to him his true talent: the telling of delightfully extravagant voyages and adventures to which cleverly prepared scientific and geographical details lent an air of verisimilitude.
When Verne’s father discovered that his son was writing rather than studying law, he promptly withdrew his financial support. Verne was forced to support himself as a stockbroker, which he hated despite being somewhat successful at it. During this period, he met Alexandre Dumas, père and Victor Hugo, who offered him writing advice.
Verne also met Honorine de Viane Morel, a widow with two daughters. They were married on January 10, 1857. With her encouragement, he continued to write and actively looked for a publisher. On August 3, 1861, their son, Michel Jules Verne, was born. A classic enfant terrible, Michel was sent to Mettray Penal Colony in 1876 and later would marry an actress in spite of Verne’s objections, had two children by his 16 year old mistress, and buried himself in debts. The relationship between father and son did improve as Michel grew older.
A typical Hetzel front cover for a Jules Verne book. The edition is Les Aventures du Capitaine Hatteras au Pôle Nord, type “Aux deux éléphants“.
A typical Hetzel front cover for a Jules Verne book. The edition is Les Aventures du Capitaine Hatteras au Pôle Nord, type “Aux deux éléphants“.
Verne’s situation improved when he met Pierre-Jules Hetzel, one of the most important French publishers of the 19th century, who also published Victor Hugo, Georges Sand, and Erckmann-Chatrian, among others. They formed an excellent writer-publisher team until Hetzel’s death. Hetzel helped improve Verne’s writings, which until then had been repeatedly rejected by other publishers. Hetzel read a draft of Verne’s story about the balloon exploration of Africa, which had been rejected by other publishers for being “too scientific“. With Hetzel’s help, Verne rewrote the story, which was published in 1863 in book form as Cinq semaines en balloon (Five Weeks in a Balloon). Acting on Hetzel’s advice, Verne added comical accents to his novels, changed sad endings into happy ones, and toned down various political messages.
From that point to years after Verne’s death, Hetzel published two or more volumes a year. The most successful of these include: Voyage au centre de la terre (Journey to the Center of the Earth, 1864); De la terre à la lune (From the Earth to the Moon, 1865); Vingt mille lieues sous les mers (Twenty Thousand Leagues Under the Sea, 1869); and Le tour du monde en quatre-vingts jours (Around the World in Eighty Days), which first appeared in Le Temps in 1872. The series is collectively known as “Les voyages extraordinaires“ (“extraordinary voyages“). Verne could now live on his writings. But most of his wealth came from the stage adaptations of Le tour du monde en quatre-vingts jours (1874) and Michel Strogoff (1876), which he wrote with Adolphe d’Ennery. In 1867 Verne bought a small ship, the Saint-Michel, which he successively replaced with the Saint-Michel II and the Saint-Michel III as his financial situation improved. On board the Saint-Michel III, he sailed around Europe. In 1870, he was appointed as “Chevalier“ (Knight) of the Légion d’honneur. After his first novel, most of his stories were first serialised in the Magazine d’Éducation et de Récréation, a Hetzel biweekly publication, before being published in the form of books. His brother Paul contributed to 40th French climbing of the Mont-Blanc and a collection of short stories - Doctor Ox - in 1874. Verne became wealthy and famous. According to the Unesco Index Translationum, Jules Verne regularly places among the top five most translated authors in the world.
[edit] Last years
On March 9, 1886, as Verne was coming home, his twenty-five-year-old paranoid nephew, Gaston, shot him with a gun. One bullet missed, but the second entered Verne’s left leg, giving him a limp that would not be cured. This left Verne limping for life. Gaston spent the rest of his life in an asylum.
After the deaths of Hetzel and his beloved mother in 1887, Jules began writing darker works. This may partly be due to changes in his personality, but an important factor is the fact that Hetzel’s son, who took over his father’s business, was not as rigorous in his corrections as Hetzel Sr. had been. In 1888, Jules Verne entered politics and was elected town councilor of Amiens, where he championed several improvements and served for fifteen years. In 1905, while ill with diabetes, Verne died at his home, 44 Boulevard Longueville (now Boulevard Jules-Verne). Michel oversaw publication of his last novels Invasion of the Sea and The Lighthouse at the End of the World. The “Voyages extraordinaires“ series continued for several years afterwards in the same rhythm of two volumes a year. It has later been discovered that Michel Verne had made extensive changes in these stories, and the original versions were published at the end of the 20th century.
In 1863, Jules Verne wrote a novel called Paris in the 20th Century about a young man who lives in a world of glass skyscrapers, high-speed trains, gas-powered automobiles, calculators, and a worldwide communications network, yet cannot find happiness and comes to a tragic end. Hetzel thought the novel’s pessimism would damage Verne’s then booming career, and suggested he wait 20 years to publish it. Verne put the manuscript in a safe, where it was discovered by his great-grandson in 1989. It was published in 1994.
[edit] Reputation in English-speaking countries
While Verne is considered in many countries such as France as an author of quality books for young people, with a good command of his subjects, including technology and politics, his reputation in English-speaking countries suffered for a long time from poor translation.
Characteristic of much of late 19th century writing, Verne’s books often took a chauvinistic point of view. The British Empire in particular was frequently portrayed in a bad light, and so the first English translator, Reverend Lewis Page Mercier working under a pseudonym, removed many such passages, such as those describing the political actions of Captain Nemo in his incarnation as an Indian nobleman. Such negative depictions were not, however, invariable in Verne’s works; for example, Facing the Flag features Lieutenant Devon, a heroic, self-sacrificing Royal Navy officer worthy of any written by British authors. Captain Nemo, an Indian, was balanced by Ned Land, a Canadian. Some of Verne’s most famous heroes were British (e.g. Phileas Fogg in Around the World in Eighty Days).
Mercier and subsequent British translators also had trouble with the metric system that Verne used, sometimes dropping significant figures, at other times keeping the nominal value and only changing the unit to an Imperial measure. Thus Verne’s calculations, which in general were remarkably exact, were converted into mathematical gibberish. Also, artistic passages and whole chapters were cut because of the need to fit the work in a constrained space for publication. (The London author, Cranstoun Metcalfe (1866–1938), translated two of Verne’s later works into English during the first years of the 20th century.)
For those reasons, Verne’s work initially acquired a reputation in English-speaking countries for not being fit for adult readers. This in turn prevented him from being taken seriously enough to merit new translations, leading to those of Mercier and others being reprinted decade after decade. Only from 1965 on were some of his novels re-translated more accurately, but even today Verne’s work has still not been fully rehabilitated in the English-speaking world.
Verne’s works also reflect the bitterness France felt in the wake of defeat in the Franco-Prussian War of 1870 to 1871, and the loss of Alsace and Lorraine. The Begum’s Millions (Les Cinq cents millions de la Begum) of 1879 gives a highly stereotypical depiction of Germans as monstrous cruel militarists. By contrast, almost all the protagonists in his pre-1871 works, such as the sympathetic first-person narrator in Journey to the Centre of the Earth, are German.
[edit] Hetzel’s influence
Hetzel substantially influenced the writings of Verne, who was so happy to finally find a willing publisher that he agreed on almost all changes that Hetzel suggested. Hetzel rejected at least one novel (Paris in the 20th Century), and asked Verne to significantly change his other drafts. One of the most important changes Hetzel enforced on Verne was the adoption of optimism in his novels. Verne was in fact not an enthusiast of technological and human progress, as can be seen in his works created before he met Hetzel and after his death. Hetzel’s demand of the optimistic text proved correct. For example, The Mysterious Island originally ended with the survivors returning to mainland forever nostalgic about the island. Hetzel decided that the heroes should live happily, so in the revised draft, they use their fortunes to build a replica of the island. Many translations are like this. Also, in order not to offend France’s then-ally, Russia, the origin and past of the famous Captain Nemo were changed from those of a Polish refugee avenging the partitions of Poland and the death of his family in the January Uprising repressions to those of an Indian prince fighting the British Empire after the Sikh War.
[edit] Predictions
Jules Verne’s novels have been noted for being startlingly accurate descriptions of modern times. “Paris in the 20th Century“ is an often cited example of this as it describes air conditioning, automobiles, the internet, television, and other modern conveniences very similar to their real world counterparts. Another good example is “From the Earth to the Moon“, which is uncannily similar to the real Apollo Program, as three astronauts are launched from the Florida peninsula and recovered through a splash landing.
[edit] Scholar´s jokes
Verne, who had a large archive and always kept up with the scientific and technological progress, sometimes seemed to joke with the readers, using so called “scholar´s jokes“ (that is, a joke which only a scientist may recognise). These appear for example in Dick Sand, A Captain at Fifteen, where it is a Manticora beetle which helps Cousin Bénédict to escape from imprisonment, when the aforementioned, not guarded in a garden, follows the beetle. Since the beetle escapes from him by flying, while in fact the genus is flightless, it is possible that it is one of such jokes. Other examples appear for example in Mysterious Island (it´s fauna and flora - note that one of the main characters, the sailor Bonadventure Pencroff talks to Cyrus Smith whether the latter believes in islands made specially as ideal ones for castaways) or From the Earth to the Moon (the material used for the cannon - in this case it was probably used as a poetic license as well, since the description of the making of the gun became far more dramatical), or The Begum’s Millions, where the methods used for making steel in “Steel City“, described as the most modern steel factory in the world, were rather dated, but, again, much more spectacular to describe. (See Neff, 1978)
[edit] Bibliography
Jules Verne and some of the creatures from his novels
Jules Verne and some of the creatures from his novels
Verne wrote numerous works, most famous of which are the 54 novels part of the Voyages Extraordinaires. He also wrote short stories, essays, plays, and poems.
Some of his better known works include:
* Five Weeks in a Balloon (Cinq Semaines en ballon, 1863)
* Paris in the 20th Century (Paris au XXe Siècle, 1863, not published until 1994)
* Journey to the Center of the Earth (Voyage au centre de la Terre, 1864)
* From the Earth to the Moon (De la terre à la lune, 1865)
* Journeys and Adventures of Captain Hatteras (Voyages et aventures du capitaine Hatteras, 1866; also published in two volumes as A Journey to the North Pole or At the North Pole or The English at the North Pole and The Field of Ice or The Desert of Ice)
* In Search of the Castaways or Captain Grant’s Children (Les Enfants du capitaine Grant, 1867-1868)
* Twenty Thousand Leagues Under the Sea (Vingt mille lieues sous les mers, 1869)
* Around The Moon (Autour de la lune, a sequel to From the Earth to the Moon, 1870)
* A Floating City (Une ville flottante, 1871)
* Dr. Ox’s Experiment (Une Fantaisie du Docteur Ox, 1872)
* The Adventures of Three Englishmen and Three Russians in South Africa (Aventures de trois Russes et de trois Anglais, 1872 )
* The Fur Country (Le Pays des fourrures, 1873)
* Around the World in Eighty Days (Le Tour du Monde en quatre-vingts jours, 1873)
* The Survivors of the Chancellor (Le Chancellor, 1875)
* The Mysterious Island (L’Île mystérieuse, sequel to Twenty Thousand Leagues Under the Sea and In Search of the Castaways, 1875)
* Blockade runners (Les Forceurs de blocus, 1876)
* Michael Strogoff (Michel Strogoff, 1876)
* Off On A Comet (Hector Servadac, 1877; also published in two volumes as To the Sun? and Off on a Comet!)
* The Child of the Cavern, also known as Black Diamonds or The Black Indies (Les Indes noires, 1877)
* Dick Sand, A Captain at Fifteen (Un Capitaine de quinze ans, 1878)
* The Begum’s Millions (Les Cinq cents millions de la Bégum, 1879)
* The Steam House (La Maison à vapeur, 1879)
* Tribulations of a Chinaman in China (Les tribulations d’un chinois en Chine), 1879
* Eight Hundred Leagues on the Amazon (La Jangada, 1881)
* The Green Ray (Le Rayon vert, 1882)
* The Headstrong Turk (1883)
* Frritt-Flacc (1884)
* The Vanished Diamond (L’Étoile du sud, 1884)
* The Archipelago on Fire (L’Archipel en feu, 1884)
* Mathias Sandorf (1885)
* Robur the Conqueror or The Clipper of the Clouds (Robur-le-Conquérant, 1886)
* Ticket No. “9672“ (Un Billet de loterie, 1886 )
* North Against South (Nord contre Sud, 1887)
* The Flight to France (Le Chemin de France, 1887)
* Family Without a Name (Famille-sans-nom, 1888)
* Two Years’ Vacation (Deux Ans de vacances, 1888)
* The Purchase of the North Pole or Topsy Turvy (Sans dessus dessous, the second sequel to From the Earth to the Moon, 1889)
* Mistress Branican, (1891)
* Carpathian Castle (Le Château des Carpathes, 1892)
* Propeller Island (L’Île à hélice, 1895)
* Facing the Flag (Face au drapeau, 1896)
* Clovis Dardentor (1896)
* The Sphinx of the Ice Fields or An Antarctic Mystery (Le Sphinx des glaces, a sequel to Edgar Allan Poe’s The Narrative of Arthur Gordon Pym, 1897)
* The Mighty Orinoco (Le Superbe Orénoque, 1898)
* Second Fatherland (Seconde Patrie, sequel to Johann Wyss’s The Swiss Family Robinson, 1900; also published in two volumes as Their Island Home and Castaways of the Flag)
* The Village in the Treetops (Le Village aérien, 1901)
* The Master of the World (Maître du monde, sequel to Robur the Conqueror, 1904)
* Invasion of the Sea (L’Invasion de la mer, 1904)
* A Drama in Livonia (Un Drame en Livonie, 1904)
* The Lighthouse at the End of the World (Le Phare du bout du monde, 1905)
* The Chase of the Golden Meteor (La Chasse au météore, 1908)
* The Danube Pilot (Le Pilote du Danube, 1908)
* The Survivors of the ’Jonathan’ (Le Naufrages du Jonathan, 1909)
* The Eternal Adam (L’Eternel Adam, 1910)
[edit] See also
* Edgar Rice Burroughs
* Zane Grey
* Paschal Grousset
* Karl May
* Emilio Salgari
* Osip Senkovsky
* Oshikawa Shunro
* B. Traven
* H. G. Wells
* Steampunk, a style that took inspiration from Verne.
* Before Armageddon: An Anthology of Victorian and Edwardian Imaginative Fiction Published Before 1914 (1976)
[edit] Notes
1. ^ Adam Charles Roberts (2000), “The History of Science Fiction“: Page 48 in Science Fiction, Routledge, ISBN 0-415-19204-8. Others who are popularly called the “Father of Science Fiction“ include Hugo Gernsback and H. G. Wells.
Cutting-edge 是什么意思
cutting-edge adj. 前沿的，最前沿的;
英[’kʌtɪŋ’edʒ] 美[’kʌtɪŋ’edʒ]
短语：
cutting edge technology 尖端技术
cutting edge science 尖端科学
at the cutting edge 处在(高科技)的最前沿
at the cutting edge of 处在最前沿的位置
例句：
What we are planning is cutting-edge technology never seen in Australia before .
我们正在开发的是一种在澳大利亚从未有过的尖端技术。
Some of what is happening at Packard is cutting-edge medicine.
正在帕卡德那里进行的某些研究属于前沿医学范畴。
扩展资料：
相似单词：
edge on 侧向
cutting in 切深
seal cutting 篆刻
leading edge adj. 领先优势的
deckle edge a. 有毛边的
after edge 后缘
跪求一篇英文翻译Translation
Accoording to the data published by World Tourism Organization, one of the UN branches, Chinese tourists have contributed the most to the global tourism. Last year, their expenditures for outbound travel expanded to 102 billion US dollars with an increase of 40% over the year 2011. The UN World Tourism Organization released a statement on its website that such an increase enabled China to surpass Germany and the US quickly who had always been the top two Countries in terms of expenditures on outbound travel. In 2012, The expenditures on outbound travel expericed a year-on-year increase of 6%, approximately totaling 84 billion US dollars both in Germany and the US.
仅供参考，望能帮助到你，呵呵！
because i could not stop for death如题 谢谢了
Abstract: Death and eternity are the major themes in most of Emily Dickinson’s poems.“ Because I could not stop for death ”is one of her classic poems. Through the analysis, this essay clarifies infinite conceptions by the dialectical relationship between reality and imagination, the known and the unknown. And it tells what’s eternity in Dickson’s eyes. Keywords: death, eternity, finite, infinite Introduction Emily Dickinson（1830-1886）, the American best-known female poet ，was one of the foremost authors in American literature. Emily Dickinson ’s poems, as well as Walt Whitman’s, were considered as a part of “American renaissance“; they were regarded as pioneers of imagism. Both of them rejected custom and received wisdom and experimented with poetic style. She however differs from Whitman in a variety of ways. For one thing, Whitman seems to keep his eye on society at large; Dickinson explores the inner life of the individual. Whereas Whitman is “national“ in his outlook, Dickinson is “regional“ Emily Dickinson was born in Amherst, Massachusetts, on December 10,1830. She lived almost her entire life in the same town (much of it in the same house), traveled infrequently, never married, and in her last years never left the grounds of her family. So she was called “vestal of Amherst“. And yet despite this narrow -- some might say -- pathologically constricted-outward experience, she was an extremely intelligent, highly sensitive, and deeply passionate person who throughout her adult life wrote poems (add up to around 2000 ) that were startlingly original in both content and technique, poems that would profoundly influence several generations of American poets and that would win her a secure position as one of the greatest poets that America has ever produced. Dickinson’s simply constructed yet intensely felt, acutely intellectual writings take as their subject issues vital to humanity: the agonies and ecstasies of love, sexuality, the unfathomable nature of death, the horrors of war, God and religious belief, the importance of humor, and musings on the significance of literature, music, and art. Emily Dickinson enjoys the King James Version of the Bible, as well as authors such as English WRTERS William Shakespeare, John Milton, Charles Dickens, Elizabeth Barrett Browning, George Eliot, and Thomas Carlyle. Dickinson’s early style shows the strong influence of William Shakespeare, Barrett Browning, Scottish poet Robert Browning, and English poets John Keats and George Herbert. And Dickinson read Emerson appreciatively, who became a pervasive and, in a sense, formative influence over her. As George F. Whicher notes, “Her sole function was to test the Transcendentalist ethic in its application to the inner life“. 1“death” in Emily Dickinson’s poets For as long as history has been recorded and probably for much longer, man has always been different idea of his own death. Even those of us who have accepted death graciously, have at least in some way, --- feared, dreaded, or attempted to delay its arrival. We have personified death-- as an evildoer dressed in all black, its presence swoops down upon us and chokes the life from us as though it were some street murder with malicious intent. But in reality, we know that death is not the chaotic grim reaper of fairy tales and mythology. Rather than being a cruel and unfair prankster of evil, death is an unavoidable and natural part of life itself. Death and immorality is the major theme in the largest portion of Emily Dickinson’s poetry. Her preoccupation with these subjects amounted to an obsession so that about one third of her poems dwell on them. Dickinson’s many friends died before her, and the fact that death seemed to occur often in the Amherst of the time added to her gloomy meditation. Dickinson’s is not sheer depiction of death, but an emphatic one of relations between life and death, death and love, death and eternity. Death is a must-be-crossed bridge. She did not fear it, because the arrival in another world is only through the grave and the forgiveness from God is the only way to eternity.
求采纳
英文翻译 nature school
大自然是最伟大的老师在幼儿园的Scandinavia.1
整个斯堪的纳维亚小孩子十分猖獗！从拉普兰到日德兰，您会看到成群的年轻人追逐通过草地和林地，与泥溅脸和小背囊他们backs.2你会发现他们溅流，爬行通过下层，爬上了树，或静坐于日志吃sandwich.3这些儿童从其中一个“ naturbornehaver ” （性质幼儿园）目前mushrooming4所有的挪威，丹麦，瑞典和芬兰。
是的，这是教学击中我们time5 ，简单的概念了惊人的考虑儿童的性质，尽可能多，尽可能长时间，全天候和全季。研究表明，这些“自然”儿童获得远远超过玫瑰色的脸颊和明亮的眼睛，因为现在很明显的性质幼儿园儿童的社会，身体和智力上的优势，他们的同时代人在传统的幼儿园。难怪那么，增长率在这一领域的保育是phenomenal6 。在丹麦，几乎所有的县议会现在有一个或两个这样的学校。
虽然有许多变化的主题，性质幼儿园往往设在一片森林。森林提供完美的画面对儿童的自然物理的发展。当一个孩子经历的自由和刺激所提供的森林，结果是一个更加平衡与和平的孩子谁能够处理社会和智力挑战有效得多。
森林提供多种学习机会。儿童可以运行在尽可能想;噪音吸收immensity7天空。儿童可以使用自己的身体充分;攀爬，摆荡，检索，携带，跳跃。更重要的是，森林是充满了丰富的玩具：一个坚持转变成一匹马或成指挥棒进行黄铜band.8想象字面上可以通过运行野生树木。
为这些儿童，世界充满生命：懒鬼和甲虫，野生树莓和榛子，啄木鸟和jays.9有什么更好的方法可以有了解动物，植物和季节变化？什么更有效的方式来教孩子们基本的生态问题，所以当他们出现在这种自发的真正背景？ 10
最常见的，如幼儿园“绿色” 。他们购买有机和环保产品，并与环境的可持续性的概念，例如composting11和节能。在让孩子们有机会建立一个有意义的，亲切的和负责任的与自然世界，它必须是一个经常为他们日常工作接触地球，听到鸟鸣，收集浆果和蘑菇，了解动物和植物。在风，雨，雪和服务，让孩子胡闹！
请英语强人帮忙翻译！谢绝翻译机
金钱报告 等候从奥马哈Oracle的一个估价标志 柏克夏Hathaway (BRK.A)在2008年10月下沉了50%余从它的峰顶。 是insurer’ s股票交易？ 观看线索的Warren Buffett至于的CEO他怎样认为柏克夏， B份额换大约2400，被重视。 在他的对股东的被期望的年终报告，传奇投资者再表明他发痒做有些购买。 他提供经费给承购的方式可能提供购买或卖信号。 当Buffett使用股票拾起a公司时他做了与一般关于在1998-it’的后面; s通常考虑了一个标志他相信柏克夏份额被估价过高。 (他使用现金和股票那年早些时候买冰淇凌链子国际牛奶店女王/王后。) 从1998年中到早期2000年， Berkshire’ 几乎s股票失去的一半它的价值。 但是，在Buffett在2006年之后支付$5.1十亿现金买公共PacifiCorp，份额跳跃了超过55%以后二年。 企业教授说标记Hirschey，堪萨斯大学的： “ 如果他更喜欢现金库存，意味他相信柏克夏是太便宜以至于不能使用作为currency.“ -艾德丽安・卡特 在第一太阳的收入蚀 份额第一太阳(FSLR)，光电池坦佩(Ariz。)以为基础的制造商，比其余阻止有些好太阳产业在最少直到2月24日。 That’ s，当公司报告了第四季度收入，与一个令人吃惊地愁苦的外型一起在2009年。 说它的第一太阳将必须帮助其中一些顾客提供经费给即将来临的项目，切开成2009年收支。 CEO迈克尔Ahearn也注意到， 10%到15%当前命令可能消失，如果客户默认。 份额在下星期期间笔直了落下20%并且扯拽了下来区段。 “ 第一太阳从由于全球性经济不适实现的绝对需求破坏， “不是免疫的; 写了乔纳森Hoopes，研究企业的ThinkEquity一个分析员。 他推荐投资者卖股票。 -阿龙新闻记者 收缩的出产量 在货币市场基金的七天的平均出产量落到0.33%在2月24日。 如果从工业组织投资公司学院的被期望的建议治理资金被采取，出产量可能去更低。 彼得起重机，货币基金智力时事通讯，盼望ICI寻求消灭对低额定的暴露，高产生艰苦成为去年秋天换的债务，并且推荐资金缩短藏品成熟。 “ 积极地juicing的人通过舒展信用质量产生… won’ t能再打那场比赛， “ 头说货币基金小组的在一家大共同基金公司。 - Lauren年轻人
急求一份新东方2010年大学英语六级高频词汇，Word或text文档，发到我的邮箱shishaoxiaok@yeah.net
六级不分哪年的，这个版本很经典，我当时就背的它，一直背到考前几分钟，六级打了516分，阅读249满分打了232分，加油，这些单词背了，作文和翻译也是高分！
六 级 核 心 词 汇
(一)形容词
abnormal α.不正常的 95-1-42 98-1-58
absurd α.荒缪的 99-6-39
abundant α.丰富的 89-1-59
acute α.敏锐的 锋利的 96-1-63
aggressive α.侵略的 好斗的 94-1-63
ambiguous α.模棱两可的 模糊的01-6-60
ambitious α.有雄心的 有抱负的 00-1-58
appropriate α.合适的 恰当的 00-6-41
authentic α.可靠的 可信的 01-1-43
average α.一般的 普通的 97-6-44
barren α.贫瘠的 不毛的 99-6-60
bound α.一定的 90-1-55
chronic α.慢性的 01-1-42
commentary α. 实况报道 99-6-46
compact α.紧凑的 小巧的 99—1—63
competitive α.竞争性的 具有竞争力的
compact a. 紧凑的，小巧的 99-1-63
competitive a. 竞争性的，具有竞争力的
compulsory a. 强迫的，强制的，义务的
confidential a. 机紧的，秘密的 01-6-59
conservative a. 保守的，传统的 96-1-54
consistent a. 和……一致 95-6-47
conspicuous a. 显而易见的，引人注目的
crucial a. 关键的 00-1-54
current a. 当前的 93-1-70
current a. 当前的 89-1-69
decent a. 体面的，像样的，还不错的 00-1-67
delicate a. 精细的，微妙的，精心处理的
destructive a. 毁灭的 01-1-46
economic a. 经济的 93-6-59
elegant a. 优雅的，优美的，精致的 96-6-42
embarrassing a. 令人尴尬的 93-6-61
energetic a. 精力充沛的 98-1-59
equivalent a. 相等的 91-6-46
eternal a. 永恒的，无休止的 00-6-45
exclusive a. 独有的，排他的 97-1-60
extinct a. 灭绝的 01-1-40
extinct a. 灭绝的，绝种的 99-6-40
fatal a. 假的，冒充的 98-1-56
fatal a. 致命的，毁灭性的 96-6-62
feasible a. 可行的 00-1-42
feeble a. 脆弱的，虚弱的 99-1-60
gloomy a. 暗淡的 01-4-48
greasy a. 油腻的 00-1-56
identical a. 相同的，一样的 95-1-64 01-6-67
imaginative a. 富有想象力的，爱想象的
inaccessible a. 可接近的，易使用的 96-1-43
inadequate a. 不充分的，不适当的 99-1-44
incredible a. 难以置信的96-6-53 98-1-68
indifference a. 不关心的，冷漠的 96-6-67
indignant a. 生气的，愤怒的 00-6-43
infectious a. 传染的，传染性的 95-1-62
inferior a. 较次的，较劣的 91-6-57
inferior a. 地位较低的，较差的 96-1-48
inherent a. 固有的，生来的 96-6-59
inspirational a. 灵感的 01-1-44
intent a. 专心的，专注的 97-6-43
intricate a. 复杂精细的 00-1-55
intrinsic a. 固有的，本质的，内在的 99-1-62
irreplaceable a. 不能替换的，不能代替的
literal a. 文字的，字面的，逐字逐句的
massive a. 大规模的，大量的 00-6-42
merciful a. 仁慈的，宽大的 97-1-51
mobile a. 活动的，流动的 93-6-54
naive a. 言行自然而天真的，质朴的 98-6-68
negligible a. 可忽略的，微不足道的 00-1-57
notorious a. 臭名昭著的，声名狼藉的
obedient a. 服从的，顺从的 01-1-47
obscure a. 模糊不清的 00-1-66 97-1-61
optimistic a. 乐观的 99-6-44
original a. 原先的，最早的 98-1-62
pathetic a. 悲哀的，悲惨的 98-6-47
persistent a. 坚持不懈的 89-1-60
potential a. 可能的，潜在的 98-1-61
prent a. 普遍的，流行的 99-6-43
primitive a. 原始的，早期的 01-1-60
proficient a. 熟练的，精通的 99-1-59
profound a. 深刻的，深远的 93-6-52
prominent a. 突出的，杰出的 96-6-66 98-1-57
prompt a. 即刻的，迅速的 90-1-46
raw a. 自然状态的，未加工的 93-1-46
relevant a. 与……有关的 93-6-51
respectable a. 可尊敬的 00-1-43 01-1-39
rewarding a. 值得的 95-1-48
rough a. 粗略的，不精确的 97-6-41
rude a. 粗鲁的，不礼貌的 89-1-55
sensitive a. 敏感的 98-1-60
sheer a. 完全的，十足的 97-6-42 98-6-57
shrewd a. 精明的 99-6-45
stationary a. 固定的 97-6-46
subordinate a. 次要的，从属的 97-1-70
subtle a. 微妙的，精巧的，细微的 98-6-65
superficial a. 肤浅的 93-6-63
suspicious a. 对……怀疑 96-1-70
tedious a. 冗长的，乏味的 94-1-67 95-1-54
trivial a. 琐碎的，不重要的99-6-38 00-1-59
turbulent a. 动荡的，混乱的 00-6-44
underlying a. 潜在的 99-6-42
versatile a. 多才多艺的 97-1-41
vivid a. 生动的，栩栩如生的 95-6-62
void a. 无效的 99-1-66
vulnerable a. 易受伤的 01-1-45
worth a. 值得 97-1-67
(二)副词
deliberately ad. 故意，有意地 91-6-48
deliberately ad. 深思熟虑地，审慎地 97-1-50
exclusively ad. 仅仅地 99-1-70
explicitly ad. 明确地 01-6-64
forcibly ad. 强行地，有力地 01-6-63
formerly ad. 原先地，以前，从前 96-1-57
increasingly ad. 日益，越来越多地 01-6-68
inevitably ad. 必然地，不可避免地 97-1-57
intentionally ad. 有意地，故意地 98-1-63
optimistically ad. 乐观地 00-6-46
outwardly ad. 表面上，外表上地 95-1-65
presumably ad. 大概，可能，据推测 99-1-64
simultaneously ad. 同时发生地00-6-47
somewhat ad. 颇为，稍稍，有几分 96-1-59
spontaneously ad. 自发地，自然产生地
startlingly ad. 惊人地 97-6-66
triumphantly ad. (欣喜)胜利地，成功地
unexpectedly ad. 意外地 89-1-70 93-1-68
virtually ad. 事实上，实际地 95-1-45
(三)名词
access n. 入口，通路，接触 97-1-47
accommodation n. 住宿，膳宿 94-1-47
acknowledgement n. 承认，感谢，致谢
admiration n. 欣赏 94-1-52
advocate n. 提倡者，拥护者 97-1-42
allowance n. 津贴 93-6-50
ambition n. 野心，雄心 01-1-33
analogy n. 相似，模拟，类比 01-6-46
anticipation n. 预期，期望 93-1-44
appreciation n. 感谢，感激 97-1-68
array n. 陈列，一系列 99-6-52
assurance n. 保证 01-1-34
blame n. 责任 91-6-55
blunder n. 错误，大错 99-1-51
budget n. 预算 97-1-52 98-1-54
capability n. 能力，才能 96-6-61
cash n. 现金 90-1-48
circulation n. (书报等的)发行量 97-6-70
commitment n. 承诺，许诺 99-6-58
compensation n. 补偿，赔偿 97-6-48
consideration n. 考虑 93-1-59
constitution n. 组成，构成 00-6-50
consultant n. 顾问 00-6-52
controversy n. 争论，辩论 01-1-32
damage n. 损坏 95-1-60
debate n. 争论，辩论 97-1-53
denial n. 否认，否定，拒绝给与(正义，权利)
digest n. 摘要，简编 97-6-51
dilemma n. 窘境，困境 00-1-62
distinction n. 区分，辨别 99-6-53
emergency n. 紧急情况 93-6-42
encouragement n. 鼓励 90-1-69 98-6-43
essence n. 本质 01-1-41
estimate n. 估计 93-6-56
expenditure n. 开支 00-6-49
extinction n .灭绝 00-1-70
fashion n. 方式，样子 00-1-61
flaw n. 裂纹，瑕疵 97-6-50
fortune n. 财产，大笔的钱 93-1-64
fraction n. 小部分，一点 98-6-61
fuse n. 保险丝 90-1-65
guarantee n. 保修单 93-6-69
guilt n. 犯罪 96-1-67
harmony n. 与……协调一致，和谐 98-1-51
hospitality n. 友好款待，好客 99-6-49
humor n. 情绪，心境 93-1-49
illusion n. 错觉，假象 01-1-38
ingredient n. 成分 01-1-36
insight n. 理解，洞察力 93-1-61 99-1-57
inspection n. 检查，视察 98-6-55
instinct n. 本能，直觉 95-6-60
integrity n. 正直，诚实 99-1-53
intuition n. 直觉 00-1-60
intuition n. 直觉 99-1-56
lease n. 租约，契约 00-6-53
legislation n. 立法，法律 01-6-70
limitation n. 局限性，缺点 91-6-60
loyalty n. 忠诚，忠心 95-6-70
luxury n. 奢侈，豪华 98-1-55
manifestation n. 表现(形式) 97-6-69
mechanism n. 机械装置 00-6-55
minority n. 少数 97-6-53
misfortune n. 不幸，灾难 96-1-51
morality n. 道德，美德 96-6-43
notion n. 概念，观念，理解 98-6-60
obligation n (法律上或道义上的)责任
occasion n. 场合 89-1-56
opponent n. 敌人，对手 95-1-46
ornament n. 装饰，装饰品 01-1-35
participation n. 参加，加入 00-1-63
pastime n. 消遣，娱乐 98-6-49
pattern n. 模式 97-6-47
penalty n. 制裁，惩罚 98-1-52 99-1-50
pension n. 养老金 00-6-54
personality n. 人格，人性 96-6-52
pledge n. 保证，誓言 99-6-48
position n. 位置，职位，职务 95-6-59
predecessor n. 前任，原有的事物 01-6-44
premise n. 前提，假设 01-1-31
prescription n. 处方 98-1-49 01-6-41
preservation n. 保护，防护 95-1-53
prestige n. 威信，威望 99-6-50
priority n. 优先(权) 96-6-48
prospect n. 前景，可能性 89-1-62
rate n. 速度 95-1-66
ration n. 比率 90-1-57
recession n. (经济)衰退，不景气；撤退，退出
reflection n. 反映，表现 98-6-51 99-6-51
reputation n. 名声，声望 94-1-42
reservation n. 贮存，贮藏 98-6-67
reservation n. 预订 99-1-43
revenue n. 税收，岁入 99-1-58
rival n. 竞争对手 96-1-56
routine n. 常规，惯例，例行公事 90-1-47
scene n. 景色，景象 99-1-67
scorn n. 轻蔑，鄙视 89-1-61
shortage n. 短缺，不足 91-6-49
smash n. 打碎，粉碎 96-6-54
stability n. 稳定(性)，稳固 96-1-62
stack n. 堆，一堆 95-6-61
standard n. 标准 89-1-47
surface n. 表面 96-1-66
temperament n. 气质，性格 99-6-47
threshold n. 开端，入口 00-1-64
tolerance n. 容忍，忍耐力 98-1-50
transaction n. 处理，办理，交易 98-6-56
transition n. 过渡，转变 01-1-37 01-6-42
trend n. 倾向，趋势 93-6-48
variation n. 变化，变动 94-1-61
warehouse n. 货仓 98-6-66
way n. 方式 90-1-68
(四)介词
beyond prep. (在某方面)非……可及 96-1-46
(五)动词
abandon v. 抛弃，放弃 93-1-43
acknowledge v. 对……表示谢忱，报偿
acquaint v. 熟悉，认识 98-6-64 01-6-48
acquire v. (靠自己的能力、努力或行为)获得，
得到 98-6-52
afford v. 付得起 98-1-48
allege v. 断言，宣称 00-6-61
alternate v. 交替，轮流 90-1-51
anticipate v. 预期 00-1-41
applaud v. 赞扬，称赞 96-1-42
ascend v. 上升，攀登 98-6-59
ascribe v. 归因于，归功于 00-1-51
assemble v. 集合，聚集 97-6-62
assign v. 分派，指派(职务，任务) 90-1-59
attribute v. 归因于 91-6-69 93-1-53
base v. 建立在……的基础上 91-6-64
bewilder v. 迷惑，弄糊涂 98-6-48 01-6-49
breed v. 培育，养育 98-1-53
cling v. 坚守，抱紧 97-1-48
coincide v. 相同，相一致 91-6-58
collaborate v. 合著，合作 98-6-54
collide v. 互撞，碰撞 97-1-63
commence v. 开始 95-1-57 99-1-41
compensate v. 补偿，赔偿 00-6-69 98-1-43
complement v. 与……结合，补充 98-6-46
comply v. 遵守 95-6-57 98-1-44 99-6-32
conceive v. 想出，设想 96-6-56 00-1-52
concern v. 涉及 90-1-60
condense v. 压缩，浓缩 97-1-62
conflict v. 冲突，战争 99-1-47
conform v. 符合，遵守，适应00-6-63 01-1-54
confront v. 面对，面临 96-6-54
conserve v. 保护，保存 01-1-58
consolidate v. 巩固 99-6-35
convey v. 表达，传达 93-6-65 96-6-50
crash v. (飞机)坠毁 96-1-50
cruise v. 航行，漫游 99-1-48
dazzle v. 使眩目，耀眼 01-1-59
deceive v. 欺骗，哄骗 96-1-45
decline v. 下降，减少 97-6-57
dedicate v. 奉献，献身，致力于 98-6-63
defend v. 为……辩护 00-1-65
defy v. 违抗，藐视 01-1-56
deny v. 否认 96-1-41
deprive v. 剥夺 97-1-45 00-6-57 01-1-51
derive v. 得来，得到 94-1-62
descend v. 下落 91-6-54
descend v. 下来，下去 97-1-43
deserve v. 值得 93-1-57
deviate v. (使)背离，(使)偏离 01-6-54
disguise v. 假扮，伪装 00-1-44
dominate v. 统治，占据 00-6-70 96-6-46
drain v. 渐渐耗尽 00-6-56
duplicate v. 复制，重复 97-6-59
eliminate v. 消除 91-6-70
endure v. 忍受，忍耐 94-1-55
enhance v. 提高，增加 01-1-53
enhance v. 提高 97-6-58
enroll v. 使成为……的成员，注册 01-6-47
evoke v. 引起，唤起 99-6-31
exclaim v. 呼喊，欢呼 94-1-65
expire v. 到期，期满 99-6-37
explore v. 探险，探索 96-1-65
flap v. (鸟)振翅(飞行) 00-6-64
follow v. 遵从 93-6-45
furnish v. 配备，装饰 97-6-61 01-6-53
gaze v. 凝视，注视 97-1-58
gear v. 使适应，使适合 00-6-59
grieve v. 使伤心，使悲伤 01-6-55
hamper v. 妨碍，限制 97-6-63 01-1-52
haul v. 拖，拉 00-1-49
hinder v. 阻碍，妨害 98-1-41
hoist v. 举起，升起，吊起 99-1-61
identify v. 认出，确认 94-1-69 99-1-55
ignite v. 引燃 95-1-67 99-6-36
immerse v. 使浸没 01-6-51
impose v. 把……强加于 89-1-57 93-6-67
induce v. 劝诱，诱导 99-1-69
indulge v. 纵容，放任 97-1-46
intend v. 意欲 94-1-53
interpret v. 解释，说明 95-6-55
jeopardize v. 危及，损坏 00-6-65
linger v. 逗留，徘徊，留恋；迟缓，拖延
locate v. 位于 95-1-50
magnify v. 放大 91-6-67
mean v. 打算，意欲 93-6-43
mingle v. 混合起来，相混合 00-1-53 00-6-62
minimize v. 对……做最低估计 99-1-46
monitor v. 检测，监测 99-6-59
neglect v. 忽视 97-6-64
occupy v. 占领，使忙碌 98-6-44
oppress v. 压迫 00-6-58
originate v. 首创，起源 95-6-56
overlap v. 部分重叠 00-6-66
overwhelm v. 压倒，浸没，使不安 97-1-59
parade v. 游行 95-1-43
permeate v. 渗入，渗透 99-1-68
prescribe v. 处方，开药 95-6-68
preside v. 主持 98-6-69
prolong v. 延长，拖延 94-1-59
promise v. 许诺 93-6-41
propel v. 推进，推动 00-1-46
protest v. 抗议，反对 95-1-56
provoke v. 引起，激起 00-6-60
radiate v. 辐射状发出，从中心向各方伸展出
reconcile v. 使和好，调解 95-1-59 99-6-34
refresh v. 提神，使清新 94-1-49
refute v. 证明……不对(是错误的)，驳诉
remain v. 停留，依旧是 94-1-56
repel v. 抗御，抵拒 97-6-60
rescue v. 营救，救援 89-1-53
resign v. 辞职 93-1-63
resort v. 求助，凭借，诉诸 98-6-53
resume v. 重新开始，继续 95-1-70
revenge v. 报仇，报复 00-1-48
scan v. 细察，审视 98-1-45
scrape v. 剥下，刮下 00-1-50
scratch v. 抓，搔 01-1-55
shrink v. 收缩，减少 99-1-45
standardize v. 使标准化 95-6-53 99-1-52
steer v. 驾驶，引导 98-1-69
strengthen v. 加强，使更强壮 97-1-44
stretch v. 伸展 00-1-47
subscribe v. 预订，订阅 01-6-52
suck v. (用嘴)吸，吞噬，卷入 98-1-42
suppress v. 镇压 99-6-33
sustain v. 承受 91-6-59
tackle v. 解决，处理 96-1-53
tempt v. 引诱，劝诱 97-1-57
tempt v. 引诱，劝诱 98-1-47
terminate v. 终止，结束98-6-45 01-6-50
transmit v. 传播，传递 95-6-69
verify v. 证实，证明 94-1-46
view v. 视为，看做 93-6-53
wreck v. (船只)失事 93-6-44
(六)短语
adhere to 忠于 98-6-70
after all 毕竟，归根结底 98-1-66
at random 随机地，任意地 91-6-42 97-1-49
break out 突然发生，爆发 94-1-54
break up 打碎 00-1-68
but for 要不是 90-1-58 95-6-46
by far 最，……得多 89-1-66
by no means 决不，一点也不 96-6-70
catch on 理解，明白 99-1-42
catch up with 赶上 96-6-58
collide with 碰撞，冲突 01-1-57
come up with 想出，提出 96-1-69
come up with 追及，赶上 94-1-44
comment on 评论 89-1-54
contrary to 与……相反 98-1-65
contribute to 有助于，促成 91-6-50
cope with 应付，妥善处理 94-1-50 96-1-60
cut short 打断，制止 97-6-55
do away with 消灭，废除，去掉 95-1-51
do credit to 为……带来光荣 93-1-55
due to 因为 91-6-52
go in for 从事，致力于 95-6-66 97-6-54
go off 爆炸 99-6-54
hang by a thread 千钧一发，岌岌可危
heap praise upon 对……大加称赞 98-1-67
in accordance with 与……一致，按照，根据
in between 在两者之间 90-1-45
in case of 防备，以防 91-6-51
in honour of 为纪念 93-6-70
in response to 响应，反应 95-6-65
in terms of 根据，从……方面来说99-6-56
in that 因为 95-6-50 96-6-65
in the vicinity of 在附近 00-6-48
keep off 远离，抑制 97-1-56
lay off (暂时)解雇 00-6-68
let alone 更不必说 97-6-65
look into 调查 00-1-69 90-1-53
look on 看待 93-1-51
lose no time 立即 90-1-70
make sense of sth. 讲得通，言之有理 97-1-54
of no avail 无用，无效 99-6-57
on file 存档 97-6-67
on no account 决不，绝对不 91-6-63
on the decline 衰落中，衰退中 96-6-57
out of stock 无现货的，脱销的 89-1-63
provided that 假如，若是 99-6-55
pull up 使停下 94-1-70
put away 放好，放起来 93-6-47
regardless of 不管，不顾 99-1-65
result in 导致，结果是 89-1-65
result in 发生，导致 98-1-64
see to 照料，注意 97-1-55
show to 引导，引领 97-1-66
stand for 容忍，接受 93-1-60
take on 承担，接受 91-6-62
take over 接管，接收 95-6-64
take to 对……产生好感，开始喜欢 93-6-58
talk into 说服 96-6-68 97-6-56
that is 即，也就是 90-1-42
turn in 上交 00-6-67
turn out 生产出 91-6-53
turn to 求助于 93-1-69
ward off 防止，避开 01-1-49
with reference to 关于，有关 89-1-64 97-1-65
work out 想出，制订出 91-1-48
worth one’s while 值得 95-1-52
【英语强人系列】原创小说片段翻译,多谢捧场,谢谢!
您这小说的开头以前我倒是看过，也没见有下文啊
那年那月
The Year It All Happened
时光的指针倒退地指向了1976年，那是个黑暗的一年。
It could be dated back to 1976, a year of darkness.
唐山大地震，伟人的离去，对每个人的心灵都是沉重的打击。然而这种沉重的气氛依旧没有离去的意思，而且也把这种氛围带到了一个山城。
Everyone suffered from a series of heavy blows---from Tangshan Earthquake to the decease of great ones. A solemn and still mood spread among people with as little disturbance or change of mien. There was no exceptance for Fuxin, a small town surrounded by hills.
阜新，东北某个小城镇，10月份，那里的天气已经进入深秋天许久了，那天月昏星暗，黑黢黢的，到处看不到一点亮光，路旁的树叶子在黑暗中发出“沙沙”的响声。不道哪里来的猫头鹰在个黑暗的角落里叫唤着，听起来真有些令人毛骨悚然。
The tiny town of Fuxin, a typical small city in Northeast China, lay amidst all the darkness of an October night. Late autumn arrived there even earlier. The sky was dense with cloud, not a diffused light from some fragment of a moon could be seen. Rustling of leaves carried on the air all around the road and an owl, from somewhere in darkness, let out creepy screams.
空气也忽然变得森凉。黑色的乌云象跑马一样的翻滚着。惊雷就象从脚底下打过来，一道道闪电，就象要把天劈开一样。亿万道电光在云端疾走，交锋，搏斗，激起一片震天动地的雷声，仿佛要把这座山城炸开。一场暴雨随时等候着雷公的派遣。
All of a sudden chilly air spilled over the horizon. Dark cloud was rolling madly across the sky, then a sound of thunder seemed to come from beneath. The whole sky was cleaved by thunderbolts wrestling and roaring through the cloud edges. And the mountain town, almost split apart by the wrath of His Mightiness, awaited the storm that might come in no time.
在一瞬间，雨犹如瓢泼一样从天而降，雨由小到大，整个山城在暴雨的密网里挣扎地摇摆着，好象要把几年的污垢洗掉的。在汇成水流的大路上激起了泡沫和水花，狂风又把水花吹成了尘雾，巨大的雨气象个大罩子一样把城镇彻底盖严。
The storm came at a moment, not so powerful at the beginning but soon becomes a torrent. It pounded against the town in such a steady wash that all the dirt and filth that sullied the town for years seemed to be cleaned away. The road became a bubbling and splashing stream. Flung capriciously by a rising gust, the storm cloaked the town tightly like an enormous and foggy garment.
罗家大院，当地一个大家族，此时正处于悲伤中。
Luo family’s compound, the dwelling place of one of the largest local clan, was now in great sorrow.
罗积仁，一个老实本分的庄稼汉，五十多岁了，个子不高的，身体逐渐衰退了，长年的风吹日晒，使他的脸色呈献古铜色，眼睛也过早地失去了年轻人那样的光彩，业已模糊了。
A simple-minded peasant of medium size, Luo Jiren was already in his fifties. His health was declining and his face bronzed by the sun. He got cloudy eyes earlier than his peers, indicating he was no longer young.
经过早年的闯关东，在这个普通的城镇中找到了自己的一份天地，后来结婚了，又有了四个孩子，但后来他发现那时的城里的钱也不好赚，他就远走他乡了，只是每年过年的时候，把钱带回来，给全家人补给的。
He was among the settlers heading for Manchuria when he was young. Later he found his right place in this plain-looking town, got married and had four children. Then, knowing he could not make himself a successful breadwinner in the town, he turned to other places, and returned only at each turn of years, contributing the revenue to maintain his family’s living.
可能是性格原因，他从不对外人说他究竟是做什么的，和他外出的乡亲也没有看到他干什么的，但从他家的青砖小瓦房，过年的吃的虽不是大鱼大肉的，但荤素的搭配也都可以看出，这个农村来的庄稼汉是个赚钱高手。罗老汉的品行和他的名字一样，对别人都很仁慈的。经常救济那些困难的人们。他的口碑很好的，因此大伙说起他来无不挑大拇指的。
Luo had never mentioned about his occupation, nor could his fellow villagers feature it out. This might be explained from his nature. But this clodhopper surely knew well how to make money. His family lived in a tile-roofed house built of blue bricks. Though by no means a feast of fat things, His dinner on New Year‘s Eve never lacked of meat dishes. Luo’s behavior was also true to his name. He was kind to people, ready to lend a hand to those in trouble, and enjoyed a good reputition among his neighborhood.
“老天却喜欢捉弄本分人”。由于积劳成疾，1976年的这一年，他彻底病倒了，基本不能起床了。除了老大以外，其他的三个儿女和老婆轮流地伺候着他，但医疗那时不发达，只能把他生还的希望留给下个世界。
As the saying goes “Only the Good die young“, Luo burnt himself out completely in 1976. When he was ill in bed, his wife and three children, except for his eldest son, looked after him in turn. However for the very limited medical services he could receive then, what he could do was just planning for his next-life.
临终前，罗老汉将老婆丁婉叫到身旁，叮嘱她一切。叫孩子们都先出去了。随后罗老汉说完了最后一句话，离开这个人世，阳光和雨露陪伴了他整整五十五年。但都在最后一散而去了。
Before he breathed his last, Luo spoke of his arrangement to Ding Wan, his wife. Then he told his children to go out and uttered his last words. He bid farewell forever to the grace of God, at the age of 55.
全家都在哭泣，四个孩子哭声交织在一起，欲与雷声试比高的。老天也在陪他们哭泣着。
The whole family was crying. The thunder echoed with his four children, as if God was willing to join them.
在外人看来，罗老汉的离去给罗家蒙上了一层神秘的色彩，关于他的种种传说众说纷纭。而罗老汉的临终之言只有丁氏知道，但她却将老头的嘱托深埋心底了，儿女们问什么，她都说，过去了不想再回忆了，也许老太太想将秘密带到棺材里去了，除此之外无人再知晓了。
For outsiders, Luo family had been rendered a mystical one for his last words. Rumors of all versions arose. Ding Wan, as the only one who knew the truth, decided to keep it as a secret. She told her children that she had no desire to recall the past whatever they asked about. The secret might remain an engima upon her death, since no one else knew about it.
startling是什么意思
一、startling
1、英 ［ˈstɑːtlɪŋ］ 美 ［ˈstɑːrtlɪŋ］
2、adj． 令人吃惊的。
二、词根：startle
1、startled
adj. 受惊吓的
v. 震惊（startle的过去分词）
2、startlingly
adv. 惊人地；使人惊奇地
3、startle
n. 惊愕；惊恐
扩展资料
一、startling的近义词：shock
1、英 ［ʃɒk］ 美 ［ʃɑːk］
2、n． 休克；震惊；震动；打击；禾束堆
3、vt． 使休克；使震惊；使震动；使受电击；把…堆成禾束堆
4、vi． 感到震惊；受到震动；堆成禾束堆
二、词根：shock
1、shocked
adj. 震惊的；震撼的
v. 使震动（shock的过去式）
2、shocking
adj. 令人震惊的；可怕的，令人厌恶的；糟糕的
v. 感到震惊；震动；冲突（shock的ing形式）
雾都孤儿读后感要英文翻译！！
In considering Dickens, as we almost always must consider him, as a man of rich originality, we may possibly miss the forces from which he drew even his original energy. It is not well for man to be alone. We, in the modern world, are ready enough to admit that when it is applied to some problem of monasticism or of an ecstatic life. But we will not admit that our modern artistic claim to absolute originality is really a claim to absolute unsociability; a claim to absolute loneliness. The anarchist is at least as solitary as the ascetic. And the men of very vivid vigour in literature, the men such as Dickens, have generally displayed a large sociability towards the society of letters, always expressed in the happy pursuit of pre-existent themes, sometimes expressed, as in the case of Molière or Sterne, in downright plagiarism. For even theft is a confession of our dependence on society. In Dickens, however, this element of the original foundations on which he worked is quite especially difficult to determine. This is partly due to the fact that for the present reading public he is practically the only one of his long line that is read at all. He sums up Smollett and Goldsmith, but he also destroys them. This one giant, being closest to us, cuts off from our view even the giants that begat him. But much more is this difficulty due to the fact that Dickens mixed up with the old material, materials so subtly modern, so made of the French Revolution, that the whole is transformed. If we want the best example of this, the best example is Oliver Twist.
Relatively to the other works of Dickens Oliver Twist is not of great value, but it is of great importance. Some parts of it are so crude and of so clumsy a melodrama, that one is almost tempted to say that Dickens would have been greater without it. But even if be had been greater without it he would still have been incomplete without it. With the exception of some gorgeous passages, both of humour and horror, the interest of the book lies not so much in its revelation of Dickens’s literary genius as in its revelation of those moral, personal, and political instincts which were the make-up of his character and the permanent support of that literary genius. It is by far the most depressing of all his books; it is in some ways the most irritating; yet its ugliness gives the last touch of honesty to all that spontaneous and splendid output. Without this one discordant note all his merriment might have seemed like levity.
Dickens had just appeared upon the stage and set the whole world laughing with his first great story Pickwick. Oliver Twist was his encore. It was the second opportunity given to him by those who ha rolled about with laughter over Tupman and Jingle, Weller and Dowler. Under such circumstances a stagey reciter will sometimes take care to give a pathetic piece after his humorous one; and with all his many moral merits, there was much that was stagey about Dickens. But this explanation alone is altogether inadequate and unworthy. There was in Dickens this other kind of energy, horrible, uncanny, barbaric, capable in another age of coarseness, greedy for the emblems of established ugliness, the coffin, the gibbet, the bones, the bloody knife. Dickens liked these things and he was all the more of a man for liking them; especially he was all the more of a boy. We can all recall with pleasure the fact that Miss Petowker (afterwards Mrs. Lillyvick) was in the habit of reciting a poem called “The Blood Drinker’s Burial.“ I cannot express my regret that the words of this poem are not given; for Dickens would have been quite as capable of writing “The Blood Drinker’s Burial“ as Miss Petowker was of reciting it. This strain existed in Dickens alongside of his happy laughter; both were allied to the same robust romance. Here as elsewhere Dickens is close to all the permanent human things. He is close to religion, which has never allowed the thousand devils on its churches to stop the dancing of its bells. He is allied to the people, to the real poor, who love nothing so much as to take a cheerful glass and to talk about funerals. The extremes of his gloom and gaiety are the mark of religion and democracy; they mark him off from the moderate happiness of philosophers, and from that stoicism which is the virtue and the creed of aristocrats. There is nothing odd in the fact that the same man who conceived the humane hospitalities of Pickwick should also have imagined the inhuman laughter of Fagin’s den. They are both genuine and they are both exaggerated. And the whole human tradition has tied up together in a strange knot these strands of festivity and fear. It is over the cups of Christmas Eve that men have always competed in telling ghost stories.
This first element was present in Dickens, and it is very powerfully present in Oliver Twist. It had not been present with sufficient consistency or continuity in Pickwick to make it remain on the reader’s memory at all, for the tale of “Gabriel Grubb“ is grotesque rather than horrible, and the two gloomy stories of the “Madman“ and the “Queer Client“ are so utterly irrelevant to the tale, that even if the reader remember them he probably does not remember that they occur in Pickwick. Critics have complained of Shakespeare and others for putting comic episodes into a tragedy. It required a man with the courage and coarseness of Dickens actually to put tragic episodes into a farce. But they are not caught up into the story at all. In Oliver Twist, however, the thing broke out with an almost brutal inspiration, and those who had fallen in love with Dickens for his generous buffoonery may very likely have been startled at receiving such very different fare at the next helping. When you have bought a man’s book because you like his writing about Mr. Wardle’s punch-bowl and Mr. Winkle’s skates, it may very well be surprising to open it and read about the sickening thuds that beat out the life of Nancy, or that mysterious villain whose face was blasted with disease.
As a nightmare, the work is really admirable. Characters which are not very clearly conceived as regards their own psychology are yet, at certain moments, managed so as to shake to its foundations our own psychology. Bill Sikes is not exactly a real man, but for all that he is a real murderer. Nancy is not really impressive as a living woman; but (as the phrase goes) she makes a lovely corpse. Something quite childish and eternal in us, something which is shocked with the mere simplicity of death, quivers when we read of those repeated blows or see Sikes cursing the tell-tale cur who will follow his bloody foot-prints. And this strange, sublime, vulgar melodrama, which is melodrama and yet is painfully real, reaches its hideous height in that fine scene of the death of Sikes, the besieged house, the boy screaming within, the crowd screaming without, the murderer turned almost a maniac and dragging his victim uselessly up and down the room, the escape over the roof, the rope swiftly running taut, and death sudden, startling and symbolic; a man hanged. There is in this and similar scenes something of the quality of Hogarth and many other English moralists of the early eighteenth century. It is not easy to define this Hogarthian quality in words, beyond saying that it is a sort of alphabetical realism, like the cruel candour of children. But it has about it these two special principles which separate it from all that we call realism in our time. First, that with us a moral story means a story about moral people; with them a moral story meant more often a story about immoral people. Second, that with us realism is always associated with some subtle view of morals; with them realism was always associated with some simple view of morals. The end of Bill Sikes exactly in the way that the law would have killed him -- this is a Hogarthian incident; it carries on that tradition of startling and shocking platitude.
All this element in the book was a sincere thing in the author, but none the less it came from old soils, from the graveyard and the gallows, and the lane where the ghost walked. Dickens was always attracted to such things, and (as Forster says with inimitable simplicity) “but for his strong sense might have fallen into the follies of spiritualism.“ As a matter of fact, like most of the men of strong sense in his tradition, Dickens was left with a half belief in spirits which became in practice a belief in bad spirits. The great disadvantage of those who have too much strong sense to believe in supernaturalism is that they keep last the low and little forms of the supernatural, such as omens, curses, spectres, and retributions, but find a high and happy supernaturalism quite incredible. Thus the Puritans denied the sacraments, but went on burning witches. This shadow does rest, to some extent, upon the rational English writers like Dickens; supernaturalism was dying, but its ugliest roots died last. Dickens would have found it easier to believe in a ghost than in a vision of the Virgin with angels. There, for good or evil, however, was the root of the old diablerie in Dickens, and there it is in Oliver Twist. But this was only the first of the new Dickens elements, which must have surprised those Dickensians who eagerly bought his second book. The second of the new Dickens elements is equally indisputable and separate. It swelled afterwards to enormous proportions in Dickens’s work; but it really has its rise here. Again, as in the case of the element of diablerie, it would be possible to make technical exceptions in favour of Pickwick. Just as there were quite inappropriate scraps of the gruesome element in Pickwick, so there are quite inappropriate allusions to this other topic in Pickwick. But nobody by merely reading Pickwick would even remember this topic; no one by merely reading Pickwick would know what this topic is; this third great subject of Dickens; this second great subject of the Dickens of Oliver Twist.
This subject is social oppression. It is surely fair to say that no one could have gathered from Pickwick how this question boiled in the blood of the author of Pickwick. There are, indeed, passages, particularly in connection with Mr. Pickwick in the debtor’s prison, which prove to us, looking back on a whole public career, that Dickens had been from the beginning bitter and inquisitive about the problem of our civilisation. No one could have imagined at the time that this bitterness ran in an unbroken river under all the surges of that superb gaiety and exuberance. With Oliver Twist this sterner side of Dickens was suddenly revealed. For the very first pages of Oliver Twist are stern even when they are funny. They amuse, but they cannot be enjoyed, as can the passages about the follies of Mr. Snodgrass or the humiliations of Mr. Winkle. The difference between the old easy humour and this new harsh humour is a difference not of degree but of kind. Dickens makes game of Mr. Bumble because he wants to kill Mr. Bumble; he made game of Mr. Winkle because he wanted him to live for ever. Dickens has taken the sword in hand; against what is he declaring war?
It is just here that the greatness of Dickens comes in; it is just here that the difference lies between the pedant and the poet. Dickens enters the social and political war, and the first stroke he deals is not only significant but even startling. Fully to see this we must appreciate the national situation. It was an age of reform, and even of radical reform; the world was full of radicals and reformers; but only too many of them took the line of attacking everything and anything that was opposed to some particular theory among the many political theories that possessed the end of the eighteenth century. Some had so much perfected the perfect theory of republicanism that they almost lay awake at night because Queen Victoria had a crown on her head. Others were so certain that mankind had hitherto been merely strangled in the bonds of the State that they saw truth only in the destruction of tariffs or of by-laws. The greater part of that generation held that clearness, economy, and a hard common-sense, would soon destroy the errors that had been erected by the superstitions and sentimentalities of the past. In pursuance of this idea many of the new men of the new century, quite confident that they were invigorating the new age, sought to destroy the old entimental clericalism, the old sentimental feudalism, the old-world belief in priests, the old-world belief in patrons, and among other things the old-world belief in beggars. They sought among other things to clear away the old visionary kindliness on the subject of vagrants. Hence those reformers enacted not only a new reform bill but also a new poor law. In creating many other modern things they created the modern workhouse, and when Dickens came out to fight it was the first thing that he broke with his battle-axe.
This is where Dickens’s social revolt is of more value than mere politics and avoids the vulgarity of the novel with a purpose. His revolt is not a revolt of the commercialist against the feudalist, of the Nonconformist against the Churchman, of the Free-trader against the Protectionist, of the Liberal against the Tory. If he were among us now his revolt would not be the revolt of the Socialist against the Individualist, or of the Anarchist against the Socialist. His revolt was simply and solely the eternal revolt; it was the revolt of the weak against the strong. He did not dislike this or that argument for oppression; he disliked oppression. He disliked a certain look on the face of a man when he looks down on another man. And that look on the face is, indeed, the only thing in the world that we have really to fight between here and the fires of Hell. That which pedants of that time and this time would have called the sentimentalism of Dickens was really simply the detached sanity of Dickens. He cared nothing for the fugitive explanations of the Constitutional Conservatives; he cared nothing for the fugitive explanations of the Manchester School. He would have cared quite as little for the fugitive explanations of the Fabian Society or of the modern scientific Socialist. He saw that under many forms there was one fact, the tyranny of man over man; and he struck at it when he saw it, whether it was old or new. When he found that footmen and rustics were too much afraid of Sir Leicester Dedlock, he attacked Sir Leicester Dedlock; he did not care whether Sir Leicester Dedlock said he was attacking England or whether Mr. Rouncewell, the Ironmaster, said he was attacking an effete oligarchy. In that case he pleased Mr. Rouncewell, the Ironmaster, and displeased Sir Leicester Dedlock, the Aristocrat. But when he found that Mr. Rouncewell’s workmen were much too frightened of Mr. Rouncewell, then he displeased Mr. Rouncewell in turn; he displeased Mr. Rouncewell very much by calling him Mr. Bounderby. When he imagined himself to be fighting old laws he gave a sort of vague and general approval to new laws. But when he came to the new laws they had a bad time. When Dickens found that after a hundred economic arguments and granting a hundred economic considerations, the fact remained that paupers in modern workhouses were much too afraid of the beadle, just as vassals in ancient castles were much too afraid of the Dedlocks, then he struck suddenly and at once. This is what makes the opening chapters of Oliver Twist so curious and important. The very fact of Dickens’s distance from, and independence of, the elaborate financial arguments of his time, makes more definite and dazzling his sudden assertion that he sees the old human tyranny in front of him as plain as the sun at noon-day. Dickens attacks the modern workhouse with a sort of inspired simplicity as a boy in a fairy tale who had wandered about, sword in hand, looking for ogres and who had found an indisputable ogre. All the other people of his time are attacking things because they are bad economics or because they are bad politics, or because they are bad science; he alone is attacking things because they are bad. All the others are Radicals with a large R; he alone is radical with a small one. He encounters evil with that beautiful surprise which, as it is the beginning of all real pleasure, is also the beginning of all righteous indignation. He enters the workhouse just as Oliver Twist enters it, as a little child.
This is the real power and pathos of that celebrated passage in the book which has passed into a proverb; but which has not lost its terrible humour even in being hackneyed. I mean, of course, the everlasting quotation about Oliver Twist asking for more. The real poignancy that there is in this idea is a very good study in that strong school of social criticism which Dickens represented. A modern realist describing the dreary workhouse would have made all the children utterly crushed, not daring to speak at all, not expecting anything, not hoping anything, past all possibility of affording even an ironical contrast or a protest of despair. A modern, in short, would have made all the boys in the workhouse pathetic by making them all pessimists. But Oliver Twist is not pathetic because he is a pessimist. Oliver Twist is pathetic because he is an optimist. The whole tragedy of that incident is in the fact that he does expect the universe to be kind to him, that he does believe that he is living in a just world. He comes before the Guardians as the ragged peasants of the French Revolution came before the Kings and Parliaments of Europe. That is to say, he comes, indeed, with gloomy experiences, but he comes with a happy philosophy. He knows that there are wrongs of man to be reviled; but he believes also that there are rights of man to be demanded. It has often been remarked as a singular fact that the French poor, who stand in historic tradition as typical of all the desperate men who have dragged down tyranny, were, as a matter of fact, by no means worse off than the poor of many other European countries before the Revolution. The truth is that the French were tragic because they were better off. The others had known the sorrowful experiences; but they alone had known the splendid expectation and the original claims. It was just here that Dickens was so true a child of them and of that happy theory so bitterly applied. They were the one oppressed people that simply asked for justice; they were the one Parish Boy who innocently asked for more.
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